There are many ways to practice, and I am guessing that many of you are very good at sitting down with the new song you’ve been handed, looking at those unfamiliar chords, and playing (and singing) the entire song from top to bottom. This is just fine, as it helps you to learn those new chords, and it familiarizes you with the song. But if you’re not careful, it will also teach you to reply solely on that piece of paper (or iPad) and you will have a harder time breaking free.

I lead a class every Wednesday called “The All In Good Time Orchestra,” and for the last two weeks I have been celebrating our recent concert by starting our rehearsals with no stands – no music! When I announced this via email, I received some concerned replies – students were worried that it was going to be too hard. But something wonderful happened.

I asked them what the chords were for a particular song, and after a few minutes, we had remembered all the chords in the right order and timing. What information some people didn’t know, others did, and together we were playing the song – without the music!

Because we weren’t tethered to that paper, we were now able to look up and really play. We worked on “hearing” areas that needed attention, and everyone could better “see” my visual cues. I noticed the quality of our playing increased dramatically. Sure, we will probably use the written music occasionally, but now it will be to refer to, instead of to hold to for dear life.

And now you too, can take this “other way to practice” and apply it to your musical routine. Take one of your favorite songs and see if you can remember the first couple of lines. Look at the music if you have to, and then try to play just a bit from memory. Play that little part over and over… and over, until it gets to be automatic. Then work on the next part the same way. Then add the two together. Continue through the song. Piece by piece. Patiently.

In this way, you are studying the parts of the song – all the little pieces that make up the larger piece. And by doing so, you are developing the muscle memory needed to play the song without thinking about it. When your fingers go to the right chords before you even know it.

I was teaching a workshop the other day and was having a hard time hearing individuals when they asked questions. People were talking between themselves, or doodling on their instruments. I had to ask everyone to please listen, as whatever question was being asked was important to the person asking it as well as to me, and that we would all benefit from the answer I was to give.

It then occurred to me that this was yet another analogy about playing music: that we have to be able to hear what is being said (played) in a musical situation in order to be able to respond accordingly.

In a band, we must ask ourselves: can we hear everyone? Can we hear the singer, bass player, drummer, and/or other “strummers?” Do they need to “come up” (be louder) or do we need to “come down” (be quieter)? (Often, it is the latter of the two.)

If we can’t hear what is being said, how are we to know how to respond?

I am sure we’ve all experienced a conversational situation where someone doesn’t hear the actual question, and responds with something completely out of context. Sometimes it can be quite humorous, but most often it simply stops the conversation until everyone gets back on track.

Have you ever noticed in a playing situation, where someone (or several people) don’t seem to be listening and playing with the rest of the group? Perhaps they are soloing and doodling around while someone is singing, or not ending with the rest of the group.

This is a perfect opportunity to ask them, “Can you hear everything? The bass? The other players? Should we move closer together? Do we need to be louder? Can you play a little softer?” Whatever it takes to bring it to the group’s attention.

Soon it will be second nature to you all to insist that you hear everything – all the time.

When I go out to see a band or solo performer, I’d like to think that I am witnessing something special – that my presence in the audience actually matters – that the performer takes into consideration all these eager ears and faces and performs for them… me! I want to be able to say, “You had to be there.”

But I think sometimes, that in a performer’s eagerness to honor and prove their dedication to a particular artist, they merely copy the song: the arrangement, tone of voice, and delivery. But what is often forgotten, is that a recording artist often performs their songs differently. Their live version is actually live, versus their studio recording. Their acoustic version differs from the electric. There are multiple ways to play any one song.

And I remember hearing once, that a really well written song is one that can be interpreted many ways. A Beatles song, for instance, could be played in any style and still be recognized, sung to, and enjoyed.

This doesn’t mean that we can’t work hard to learn all the key parts of a song, practice the heck out of it, and deliver an amazing cover. That has its rewards both for the performer and the listener, but remember: we can buy the “real” tune anytime we want to hear it the exact way the original artist recorded it, but we can never buy the moment we sat or stood in front of you and you “blew us away” with your heartfelt, original and confident delivery of a song we thought we knew, but had never heard it played so personally… to us, the audience, on that special night.

How likely is it that someone is going to want to hear you play a particular passage of a song, a plucking pattern on just one chord, or scales, over and over for five or ten minutes before moving on to another repetitious snippet of music for another equal length of time?

“My God that’s monotonous,” they are likely to say. “ Why don’t you play a real song?”

But playing a song may not be what you need to work on.

Sometimes, what really is needed, is to focus on just one chord change, one strumming pattern, or a particular picking technique – and repetition is the key to building the muscle memory needed to flex your new skill while “playing a song.” What you need is encouragement and support – not the opposite.

So honor your commitment to being a better musician by setting aside some private time to practice and fine tune the details of your playing. Then, when you’re all warmed up and those new skills are better ingrained – you’ll be able to invite others into your space to play them “a real song.”

I remember the one I did when I was very young; it was a scene of a flock of ducks flying over a pond, out in the countryside. But though it may have had its rewards, painting by numbers didn’t really teach me how to paint. Had the outlines and numbers disappeared, I would have been left with a blank canvas and a palette of colors I had no idea of what to do with, and though I may have been learning how to wield a paintbrush, if I were to really want to be a painter (and an artist), I would need to learn much more about composition, shading, and proportions.

I observe many new users playing by numbers – that is, to be following a set of directions: play 3 strums of C, 8 strums of F, 8 strums of C, 8 strums of G, 4 strums of C, 4 strums of C7, etc. Playing this way may, at first, help you to play along to “This Land is Your Land,” but should you miss one count, or miss one “strum” of any one chord… well, you would likely to be get lost. You’d be staring at a page full of instructions yet not knowing where you were, or where to look.

On the other hand, had you known that those “8 strums” were actually two bars of 4 strums each, and that they weren’t necessarily even called “strums,” but rather beats, you would have had a better sense of where you were and able to get back to playing. You would have recognized those three odd beats at the beginning as simply the last three of four beats of a full measure before starting the song. Soon, you would have been noticing the composition of the overall picture:

Now, on your way to better understanding how a seasoned musician “looks” at music, you would be able to add new techniques and flourishes as you learn them: rhythmic enhancements & variations, dynamics, and even chord substitutions – much like the seasoned artist knows how to add shadows, light, and depth to his or her paintings.

So go ahead and paint, er…. I mean, play by numbers, but don’t be afraid to actually learn what you are doing as you do so. And though another “paint-by-number” player may be eager and willing to help, ask a more experienced player if they would be willing to give you a few tips here and there, or take a few lessons from a professional to get you started.

That painting I did of those ducks – I wish I still had it, as I was sure proud of what I did, and how far I have come.

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About Rhan Wilson

I am a working musician (among other things) living in Santa Cruz, CA., playing guitar, bass, ukulele, and percussion and have just been voted "Best Music Instructor" for the 2nd year in a row.

While living in San Francisco many years ago, I began playing hand drums in Golden Gate Park with dozens of other drummers every weekend. I noticed a need for some basic rhythmic skills among many of the beginning players and began writing a series of tips and tricks to develop one's rhythmic skills.

Fast forward to the present - I now play regularly with several ukulele groups here in Santa Cruz, and often asked to teach and share my musical knowledge with them, as many of them are just beginning to discover the magic that is music.

I will be presenting these tips in the form of short posts that I am calling "All In Good Time."

"All in Good Time" refers, of course, to the obvious: rhythm, but it also refers to the way I choose to live - with patience and faith that all we desire come to us in it's own time. Plant the seed my friends, and wait for the flower to blossom.

To learn more about what I do and who I play with, please visit my web site: www.rhanwilson.com

My new book is available!

I am happy to present my new book of thoughts, hints, and musical analogies called, "All In Good Time - A Book About Playing Music for the Aspiring Ukulele Musician."
With a foreword by the amazing Joe Craven, you can read all about it and order here:
http://rhanwilson.com

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I hope you enjoy this online tutorial, and I hope you are learning!

I've even heard from some of you that you are learning so much that you don't need those private lessons we talked about - that's great to hear, except that I could really use some financial support from time to time.

If you have the means, then please donate something from time to time so I can continue this project.